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It happens to the best of Us! From former Spice Girls to Desperate Housewives, these female celebs have suffered some seriously embarrassing bikini malfunctions while vacationing at beaches around the world.
Oops! The Orange Is the New Black actress accidentally flashed beachgoers in Sao Paulo, Brazil, after the waves knocked her bikini top aside in June 2015.
The Hills are alive! Soon after reality star Heidi Montag underwent 10 plastic surgery procedures in a single day, including increasing her breast size to an F cup, the attention-happy star seemingly lost her bikini top while vacationing in Costa Rica on Sept. 10, 2010.
How many times have we fallen for this?
"Extra" skin! While playing a casual game of football on the beach in Miami on Dec. 31, 2010, TV host Maria Menounos suffered a slight bikini malfunction when her bottoms shifted.
The Simple Slip! Nicole Richie suffered a nip slip while vacationing in St. Barths with A-list buddy Jessica Alba on April 6, 2013.
Cheeky! While vacationing in Cabo San Lucas, Mexico with longtime boyfriend Joshua Jackson, actress Diane Kruger exposed her right butt cheek when her bikini bottoms slipped on Nov. 25, 2013.
Gavin Rossdale Shares Rare Photo With All 4 of His Kids on 54th Birthday
Kris Humphries Reflects on Kim Kardashian Marriage as He Retires From the NBA: ‘I Should Have Known’
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Thomas Ruff, Red Panties , from the "Nudes" series, 2001 Vajayjay, vaj, meat wallet, muff monster, bearded clam, furback turtle—whatever you call it, the vagina has been the most obsessed-over body part since apes began to walk upright. It’s certainly been the most culturally and politically contested. It’s no surprise, then, that for centuries (millennia, even) the subject has attracted all kinds of artists, and caused some of art history’s biggest flaps. With that in mind, we offer this brief history of the vagina in art, and all the hoo-ha surrounding it.
Aurignacian vulvar representation, circa 35,000 B.C., Vézère Valley, France Life in the Pleistocene was relatively simple: One’s job was to eat and reproduce. Neither was easy back then, so Stone Age man turned to the mystical properties of cave art to help ensure the hunts for both game and the opposite sex. This image of a vulva, one of the earliest known examples of cave carving, is also one of the oldest known examples of artwork, period. There has been some argument among experts as to whether or not this circle with a slash through it is in fact a vagina. Perhaps—or maybe it’s just a early stab at depicting an ‘On’ button.
The Venus of Hohle Fels, circa 37,000 B.C., Schelklingen, Germany Much clearer as to what it represents, this buxom figure made of ivory hails from southern Germany and may have been associated with some sort of fertility ritual. The carver was apparently both an ass and breast man.
Aphrodite in the Pergamon Museum, Berlin Sometime during the fifth century B.C., the ancient Greeks came up with the ideal of the pube-free pudendum, and for the next millennia or so, depictions of depilated deltas became standard for classically inspired artists. However, the Greeks were believed to have vividly polychromed their marble sculpture with encaustic paints (pigments mixed with wax). It’s possible that this Venus and others like it were rendered with a full bush—meaning that the Brazilian paradigm followed by Renaissance Old Masters may have been the result of a big misunderstanding.
Titian, Venus of Urbino , 1538 Titian was among the first of the Old Masters to push the envelope on the classically themed goddess of love. His Venus , with her combination of coyly covered maidenhead and come-hither look, created a scandal when it was unveiled. The painting is believed to have been commissioned by Guidobaldo II della Rovere, Duke of Urbino, to celebrate his marriage four years earlier.
Leonardo da Vinci, The Female Sexual Organs , circa 1510 The Renaissance represented a scientific as well as a cultural reawakening, and this anatomical dissection by Leonardo is perhaps the first attempt to render female genitalia in empirical terms—getting down, in other words, without getting dirty.
Goya, La maja desnuda (The Naked Maja) , circa 1797–1800 The dawn of the 19th century marked the end of the Old Master period, and with it, the end of the classical female nude. This image, possibly the first depiction of female pubic hair in Western art history, is one of a pair that Goya painted of this model. (The other, showing her clothed, is called La maja vestida, or The Clothed Maja ). Nobody knows who the subject is, or why Goya chose to immortalize her. One guess is that she’s María del Pilar Teresa Cayetana de Silva y Álvarez de Toledo, 13th Duchess of Alba, with whom Goya is rumored to have been romantically involved. Another speculation is that she’s Pepita Tudó, the young mistress of Prime Minister Manuel de Godoy, Duke of Alcudia.
Gustave Courbet, L’Origine du monde (The Origin of the World) , 1866 Still revolutionary for its frank eroticism, this painting was created by Courbet for Khalil Bey, an Ottoman diplomat who had held posts in Athens and Saint Petersburg, Russia, before moving to Paris. The subject is unknown, though she is thought to be Joanna Hiffernan, one of Courbet’s favorite models at the time. Known as Jo, she was the mistress of James Whistler, an American expat painter and friend of Courbet.
Egon Schiele, Reclining Female Nude with Violet Stockings , 1910 Vienna at the turn of the 20th century was a hotbed of sexual neuroses, so it makes sense that artists at the time gravitated toward erotica. Schiele, a leading figure of the period and something of an Expressionistic bad boy, created dozens of studies of females in unashamedly sexual positions (see the following image as well). Unable to afford proper artist’s models, he persuaded prostitutes and teenage shop girls to pose for him. This ultimately proved to be a problem. Kids from the neighborhood often congregated at his studio, much to the consternation of the folks in town, and in 1912, he was arrested on charges of seducing a minor. When police later raided his studio and confiscated nearly 100 sketches, he was further charged with distributing immoral material. After Schiele spent 21 days in prison, the rape allegation was dropped. He still was found guilty of displaying erotic pictures where children could see them, and had to serve an additional three days in jail.
Egon Schiele, Girl with Black Hair (Mädchen mit schwarzem Haar) , 1911
Gustav Klimt, Reclining Semi-Nude Facing Right , 1914 Roughly a generation older than Schiele, Klimt, another major figure of the Vienna scene, was no slouch when it came to provocative depictions of women, though his shift to overtly sexual imagery came relatively late in his career.
Alfred Stieglitz, Georgia O’Keeffe—Torso , 1921 Americans are often considered puritanical, but that certainly wasn’t case among the founding members of this country’s avant-garde. Take Alfred Stieglitz. This image is one of some 350 he took of Georgia O’Keeffe between 1918 and 1925 as a “composite portrait.” Only a portion of these photographs were starkly sexual (he also took photos of O’Keeffe’s face and hands), but Torso testifies to Stieglitz’s erotic obsession with O’Keeffe, which began around 1917, while he was still married to his wife, Emily. Stieglitz’s first nude studies of O’Keeffe were taken at his home, even when Emily was there. As one might expect, this eventually led to a “it’s her or me” confrontation. Stieglitz divorced Emily in 1924, marrying O’Keeffe that same year. They remained married until Stieglitz’s death, though the fact that he dallied with other women was perhaps one reason that O’Keeffe moved to New Mexico to live by herself and work on her art.
Georgia O’Keeffe, Black Iris , 1926 This floral study has been interpreted as a literal lady-flower from almost the day it was painted, though O’Keeffe herself adamantly rejected such Freudian associations. And it’s true that sometimes a flower is just a flower—but c’mon!
Christian Schad, Two Girls , 1928 Schad was part of the German Neue Sachlichkeit (“New Realism”) movement in the decadent Berlin of the interwar years. His work was notable for its almost pornographic treatment of subjects like those depicted in Two Girls , and also for his clinical, almost academic approach to painting them. Although the women here are generally thought to be lesbians, they are both are staring at something or someone outside of the picture frame. Who that might be is suggested by the man’s wristwatch band laid on the pillow near the top right corner of the composition.
Otto Dix, Nude Girl With Gloves , 1932 Dix was also associated with the Neue Sachlichkeit, and while he did limn the occasional lewd subject, sex in his work was inevitably intertwined with death. You get a sense of that in this painting’s lugubrious overtones, with its skeletally thin model set against a funereal black background. The painting is also a homage to work of the great German Renaissance painter Lucas Cranach the Elder.
René Magritte, Le Viol (The Rape) , 1934 As its name implies, Surrealism was intent on upending conventional notions of reality, and the social order that was built on it. Artists associated with Surrealism turned to the world of dreams and the subconscious for their inspiration, and sex played no small part—so did the classical ideal of the female figure. In this image, Magritte transforms the features of a woman’s face into a naked female torso, with the breasts, navel and vagina substituting for the eyes, nose and mouth. If ever there were an icon for the objectification of women, this was it. Still, the title indicates that far from being blind to the painting’s implications, Magritte was essentially deconstructing them—or at the very least, acknowledging that beauty, in the Western tradition, was dependent on treating women as an object of the male gaze.
Meret Oppenheim, Object , 1936 Also known as Fur-lined Tea Cup , this work is one of Surrealism’s greatest hits. Its origin lies in a conversation between Oppenheim, Pablo Picasso and Dora Maar at a café in Paris. The story goes that Picasso, complimenting Oppenheim’s fur-trimmed bracelet, noted that just about anything could be covered with fur, to which Oppenheim replied, “Even this cup and saucer.” Soon after, when Surrealism’s supremo, André Breton, asked Oppenheim to exhibit in the first Surrealist exhibition dedicated to sculpture, she went out and bought a cup, saucer and spoon and applied pieces of pelt to them. The work’s sexual connotations are unmistakable, but unfortunately for Oppenheim, Object ’s instant success meant that she was never able to top it.
Hans Bellmer, Plate from La Poupée , 1936 One of the more outré figures of modern art, Bellmer, a German artist who lived in Berlin, developed his work independently of the Surrealists that were based in Paris, though he would eventually join their ranks. As a child, he and his brother hid out from their tyrannical father in “a secret garden decorated with toys and souvenirs, and visited by young girls who joined in sexual games.” Sounds like a recipe for an erotically obsessed artistic genius! Bellmer was largely self-taught, having initially studied engineering, per the demands of his father. His creeptastic dolls, or poupées , were cobbled together complete with pudenda out of wood, plaster, broom handles, metal rods and ball joints. They were initially meant as a protest against the Nazi’s rise to power (Dad was an ardent Nazi, naturally)—the result of Bellmer’s renunciation of doing anything “useful” for the new regime. The poupées were inspired by memories of his secret garden and his sexual encounters there. Bellmer took photos of his creations, publishing them in a book that came to the attention of André Breton, who invited him to exhibit with the Surrealists.
Marcel Duchamp, Étant donnés: 1. La chute d’eau, 2. Le gaz d’éclairage (Given: 1. The Waterfall, 2. The Illuminating Gas) , 1946–1966 The inventor of the Readymade’s final work was anything but ready-made: He labored over the piece in secret for 20 years after supposedly giving up art to play chess. Created in his New York studio, the piece was moved to Philadelphia Museum of Art after Duchamp’s death in 1
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